SEOUL | Interview with Hyukoh

I first met Oh Hyuk during the smouldering heat of Seoul’s summer outside a rock club in Hongdae called FF. Appearing from the bends of the city’s winding roads, Hyuk and his band, performing and releasing music under the name Hyukoh, rolled out of an all black SUV with dark tinted windows. His skinhead haircut, complimented by his piercings and stick-and-poke tattoos, seemed reminiscent of a thug you might see in Hollywood films. His demeanour certainly supported his character, yet his quiet, amiable mannerisms alluded to a reserved, intelligent individual. I can’t even begin to expect anybody to accept the projection of such a genuine voice from such a haphazard appearance.

J:The spotlight of western music culture focuses much on the activities of the U.S. and Europe, but not much insight has been given to artists based in Asia—what are some differences you have noticed be-tween east and west? In terms of mentality, production, content, branding and graphics, socially etc.?

O:It’s natural to expect that western music culture focuses on U.S. and European activities. I don’t think that there is too much difference in methods of branding, graphic design, content design or sales between east and west.

J: How does western culture influence you specifically, and what do you notice regarding how it affects your peers?

O: Western culture has a lot of influence on me. Because our genre of music originated from western culture, it’s been a constant presence in my life that motivates challenge.

J: Do you notice styles that may be apparent in western culture but new to eastern culture? In terms of fashion, design, and graphics?

O: I don’t believe that there’s a genre that has not been exposed to eastern culture. However, contents with sexual code or queer culture have not settled down yet because it’s more conservative here.

J: What is important to artists in Asia? What do they believe in, and what is most important to you in the process of creating music, whether that be during performing or writing?

O: That will depend on each individual artist. I don’t represent the general but I would say that every part of the process is important: art, music video, music, promotion. Leaving even one part out would mean a huge loss.

J: What are the people that listen to your music like? I have noticed that fans are much more loyal in Asia, having an almost cult-like presence to celebrities regardless if they are mainstream or pseudo- underground artists.

O: I’m curious about those fans; I’m kind of scared at the same time. But our fans are calm and gentle.

J: Are there some limitations to being an artist based in Asia?

O: I have not experienced it yet.

J: How does tradition and stigma translate in music, or life in Asia? How does it influence the way in which we network, talk, write or perform music?

O: Orientalism, Korea’s architecture, four seasons, visual landscape and society’s attitude have always given me huge inspiration since I was young. Living a life in an accustomed place leaves you with a sense of emptiness. Life in Seoul is hollow. So it is good to make vacuous music.

J: When people think of Korean music in the west, they think of either K-pop or Keith ape, but having been to Seoul myself, I know there is much more to be shared – what kinds of things could you share with us that might not as well known outside of Asia? What do you think would be important for western culture to absorb in order to progress?

O: It would be good to expose our music to the West and see what feedback we receive. Eastern culture has a lot of affection, what we call ‘Jeong’(헙). This is a big part of relationships. Because of it, emotions are heightened; when you’re happy, you experience extreme happiness; when you’re sad, you go through extreme sadness.

J: I feel as if there are a lot of restrictions to kids in Asia to express themselves, where as it seems in western culture we take for granted the freedom and space to do, build and make what we want. Is this something that is true? What controls this? Could you tell me about growing up in Asia and some potential difficulties of making music there? What is the K-pop industry like?

O: That is the saddest part. It’s difficult to grow up with limitations. But at the same time, because we live in Confucian culture, it’s more or less natural. There was no specific training period. We just organized and created albums out of music that I wrote during high school. We looked for places to perform, and luckily found a club that let us. We are really lucky; it’s only been one year since our début.

J: How do you think music is developing right now? What do you observe in what people like, and does that influence the way you write?

O:It’s like fast food – it’s created fast and sold cheap. No nutritional value. I can’t help but mind what people like, or where the culture, or this generation is headed. But, in the end, I just do what I want to do.

J: I have to stress a point – it is evident that artists in Seoul have a path in which they can achieve mainstream popularity, yet do a wonderful job staying true to their aesthetics, their sound or intentions. Is this something that can be achieved with effort, or is it something that relates back to issues dealing with funding?

O: I’ve always been interested in underground music culture. So I spent most of my time at home watching and listening to related things. Money is important but not having money doesn’t make things impossible. I think what’s important is how much time you put into it and how interested you are in the subject.

J: Which artist do you respect the most or has changed the way the music industry works today?